y  J^UARY,  1906 

UC-NRLF 


STUART  PRICE,  15  CENTb 


STUART 


PART  ?3  VOLUME 


toa 


MASTERS    IN    A  RT 


Among  the  artists  to  be  considered  during  the  currrent,  1906, 
Volume  may  be  mentioned,  Bocklin,  Sodoma,  Constable,  Bougue- 
reau,  Goya,  and  Ingres.  The  1906  Volume  began  with 

PART  73,  JANUARY STUART 

P  A  J-t  T     74,      THE     ISSUE     F  O  K 

jfeiruarp 

WILL  TREAT  OF 


NUMBERS   ISSUED   IN   PREVIOUS  VOLUMES 
OF  'MASTERS  IN   ART' 


PAKT 

1'AKT 

PA 

I'A 
1'A 

PA 

PA 

PART 

PA 

PA 

PA 

PA 


PA 


VOL.   1. 

1,  VAN   DYCK 

2,  TITIAN 

},  VELASQUEZ 
4,  HOLBEIN 
$,  BOTTICELLI 
6,R  EMBRANUT 

7,  REYNOLDS 

8,  MILLET 

:    9,  GIO.   BELLINI 
[•  10,  MUR1LLO 
:  n,  HALS 
r  12,  RAPHAEL 

*tnlftu 

VOL.  3. 

<T25,  PHIDIAS 
<TZ6,  PERUGINO 


VOL.  2. 


PAKT  13, 
PAKT  14, 
PAKT  15, 
PAKT  16, 
PAKT  17, 
PAKT  18, 
PAKT  19, 
PAKT  zo, 
PAKT  zi, 
PAKT  22, 
PAKT  23, 
PAKT  24, 
t  Pai 


RUBENS 
DA   VINCI 
DURER 

MICHELANGELO* 
MICHELANGELOt 
COROT 
BURNE-JONES 
TER   BORCH 
DELLA    ROBBIA 
DEL  SARTO 
GAINSBOROUGH 
CORREGGIO 
»g 


PART  17,  HOLBEIN  g 


(T28,  TINTORETTO 
JTZ9,  P.  DRHOOCH 


PART  30,  NATTIER 

~     <T  31,  PAUL  POTTER 


VOL.  4. 

PART  37,  ROMNEY 
PAKT  38,  FRA  ANGEL1CO 
PAKT  39,  WATTEAU 
PAKT  40,  RAPHAEL* 
PAKT  41,  DONATELLO 
PAKT  42,  GERARD  DOU 
PAKT  43,  CARPACCIO 
PAKT  44,  ROSA  BONHEUR 
PAKT  45,  GUIDO  RENI 
PART  46,  P.  DECHAVANNES 
PART  47,  G1ORGIONE 
PART  48,  ROSSETTI 
*  Frtsco, 


PA 

32,  GIOTTO 
PAKT  33,  PRAXITELES 
PART  34,  HOGARTH 
PART  35,  TURNER 
PART  36,  LUINI 

g  Drawings 

VOL.  5.  VOL.  6. 

PART  49,  BARTOLOMMEO  PAKT6i,  WATTS 
PART  50,  GREUZE  PART  62,  PALMA    VECCH1O 

PART  51,  DURER*  PART  63,  VIGEE  LE  BRUN 

PART  52,  LOTTO  PART  64,  MANTEGNA 

PART  53,  LANDSEER  PART  65,  CH  ARDIN 

PART  54,  VERMEER  PART66,  BENOZZO 

PART  55,  PINTORICCHIO    PART&?,  JAN  STEEN 
PART  56,  THE  VAN  EYCKS  PART  68,  MEMLINC 
PART  57,  MEISSONIER  PART  69,  CLAUDE 

PART  58,  BARYE  PART  70,  VERROCCHIO 

PART  59,  VERONESE  PART  71,  RAEBUR  N 

PART  60,  COPLEY  PART  72,  FILIPPO  LIPPI 

*  Engraving, 


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LETTERS 
LETTERING 


Illustrated  Treatise  by  FRANK  CHOU- 
TEAU  BROWN,  containing  two  hundred 
and  ten  Examples.  A  complete  and  varied 
collection  of  Alphabets  of  Standard  and  Mod- 
ern Forms,  so  arranged  as  to  be  most  practi- 
cally and  conveniently  useful  to  Designers, 
Architects,  Craftsmen,  and  all  who  have  to 
draw  letter-forms. 

WHAT   THOSE  WHO    USE    IT    HAVE 
TO  SAY 

I  consider  the  work  very  good,  and  far  ahead  of  any- 
thing of  its  kind  that  I  have  seen  before. 

JAMES  F.  RUDY,  W.  Philadelphia,  Pa. 

It  is  very  well  adapted  to  my  line  of  work,  and  is 
used  for  general  office  lettering.    It  has  many  commend- 
able features. 
WALTER  H.  WHITLOCK,  Architect,  Binghamton,  N.Y. 

It  is  comprehensive  and  at  the  same  time  concise,  and 
well  adapted  as  a  reference  book.  I  find  it  the  most 
complete  book  on  the  subject  that  I  have  examined. 

MARY  KETCHAM, 
Inst.  College  of  Fine  Arts,  Syracuse  Univ. 

The  very  best  I  have  seen.  I  have  handled  many, 
both  Foreign  and  Domestic,  but  never  found  one  that 
gives  so  much  good  information  and  usefulness  for  the 
price  of  $2.00.  BERNHARD  BENSON, 

Art  Industrial  Works,  Jamestown,  N.  Y. 

I  have  used  the  work  as  a  reference  book  when  de- 
signing the  lettering  for  bronze  tablets  of  every  descrip- 
tion, and  find  the  method  of  constructing  the  Roman 
letters  very  satisfactory.  A.  M.  LONG,  Chicago,  111. 

I  find  it  a  great  help  to  me  in  my  work.  The  most 
valuable  part  in  the  book  is  the  Roman  capital  letters, 
also  the  construction  of  Roman  small  letters  and  the 
spacing  of  Roman  capitals. 

JOSEPH  OLSEY,  Marble  and  Granite  Worker. 

It  is  the  best  book  I  have  seen  on  the  subject.  I 
wished  it  especially  for  the  Gothic  and  Black  Letter 
Alphabets,  and  consider  them  the  best  things  in  it,  es- 
pecially Mr.  Goodhue's  Alphabet. 

Miss  RUTH  S.  BROOKE,  Gambier,  O. 

The  most  complete  of  any  treatise  on  letters  and 
lettering  I  have  ever  seen.  The  artist  who  wishes  to 
make  letter  designing  a  study,  to  become  proficient, 
cannot  well  afford  to  be  without  it. 

C.  J.  BOYD,  McCune,  Kan. 

In  my  work  of  designing  I  find  myself  constantly 
referring  to  it  for  standard  forms.  I  believe  that  any 
one  who  is  called  upon  to  letter  will  find  it  to  be  of 
lasting  value  in  saving  time  and  getting  results. 

WALTER  L.  BURT,  El  Paso,  Tex. 

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CHARLES   D.  MAGINNIS 


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processes  that  experience  has  proved  useful.  The  key- 
note of  the  book  is  practicality.  Each  of  the  72  illus- 
trations is  a  specific  example  of  some  important 
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Jbtttart 


AMERICAN    SCHOOL 


Ht 

.5' 


335"  751 


MASTERS    IN   ART      PLATE   I 

PHOTOGRAPH   BY   BALDWIN    COOL1DUE 

[a] 


335751 


STtJAHT 

GEOHGE  WASHINGTON 
MUSEUM  OF  FINE  ARTS,  .BOSTON 


s  a; 


MASTEHS    IN   AHT      PT.ATK  ITT 

OT3QRAPHED  FOR      MASTERS    IN   ART'  BY    M.  P.  Ri 

[7] 


STTJAHT 

MHS.   TIMOTHT   PICKERING 
OVTINTEn  BY  MHS.  JOHN  G.  WALKEH,  WASHIKGTOA',  D.  C. 


MASTERS   IN    A  HT      PLATE  TV 


STUAHT 

JOHN  KANIJOLPH    OF  HOANOKE 
r  MK.   C.  W.  COLKMAN,  WASHINGTON,  D.  C. 


§s 


S3   i      Z   H 


t- 
K 

•< 

b* 

< 

25 

STtTA 

JONATH 

.  HENK' 

JONATH 

a 

d 

-  i 

S 

T/ 

MASTERS  IN  AMT     PLATK  VI 


[18] 


STUAHT 

CAPTAIN  JOSEPH  ANTHONY 
OWNED  Br  MH.  WILLIAM  HUDOLPH  SMITH,  PHILADELPHIA 


MASTKKS  IN   AKT      PLATE  VII 


STUABT 
MISS  NANCY   PENJNOTON 


a  s 


MASTERS   JN   AKT      PLATE  IX 

,.VMOF.C.« 


STUAHT 

THOMAS    .TKFFERSOX 
WALKKR    AHT    HUILOING,   >tOWHOIN    COLLEaE,   HHUTNSWICK.    ME. 


MASTEKS  IN   AHT      PLATE  X 


[21]          , 


STUAHT 

MHS.    wrLLIAM   JACKSOX 
PENNSYLVANIA    ACADEMY    OF    THE    I'INE    AHTS,   PHI  F>A  DKLPHIA 


POKT-HAI'r  O>'  GIL.BKHT    STUAHT    HV  .(C)HA' 
MUSKUM  O*'  K1NE  AUTS,   UOSTO.N 

The  portrait  of  Stuart  here  given  was  painted  in  Boston,  in  1825,  by  John  Neagle, 
an  eminent  artist  of  Philadelphia.  Stuart  was  at  that  time  seventy  years  of  age.  As 
a  likeness  the  portrait  is  characteristic;  as  a  painting  it  is  strong  and  vigorous.  It 
has  for  many  years  hung  in  the  Museum  of  Fine  Arts,  Boston,  where  it  is  placed  on 
loan  by  the  Boston  Athenaeum,  to  which  it  belongs.  The  above  reproduction  is  from 
a  photograph  copyrighted  by  Chester  Abbott  Lawrence. 

[22] 


M  ASTERS    IN     ART 


BORN    1755  :     DIED     1828 
AMERICAN     SCHOOL 

GILBERT  STUART  was  born  on  December  3,  1755.  The  place  of  his 
birth,  now  called  Hammond  Mills,  is  near  North  Kingston,  Rhode 
Island.  There  his  father,  Gilbert  Stuart  the  elder,  a  native  of  Perth,  Scot- 
land, had  built,  in  company  with  a  fellow-countryman,  Dr.  Thomas  Moffatt, 
a  mill  for  the  manufacture  of  snuff,  an  article  which  was  at  that  time  greatly 
in  demand  in  the  colonies  and  only  to  be  obtained  from  Scotland.  At  first 
all  went  well  with  the  business,  and  in  course  of  time  Stuart  the  elder  married 
and  brought  his  bride,  Elizabeth  Anthony,  the  beautiful  daughter  of  a  farmer 
of  large  property  living  near  Newport,  to  the  house  which  he  had  built  con- 
nected with  the  snuff-mill.  This  house,  with  its  quaint  gambrel-roof  and  low 
doorway,  still  stands  beside  the  waters  of  Petaquamscott  Pond.  There  the 
young  couple  lived  happily  and  with  the  utmost  simplicity,  and  there  three 
children  were  born  to  them,  of  whom  the  youngest,  Gilbert,  is  the  subject  of 
this  sketch. 

When  four  months  old  the  child  was  carried  to  St.  Paul's  Church,  Narra- 
gansett,  and  there  baptized.  The  event  is  entered  in  the  records  of  the  church 
as  follows :  — 

"April  nth,  1756,  being  Palm  Sunday,  Dr.  McSparrow  read  prayers,  and 
baptized  a  child  named  Gilbert  Stewart,  son  of  Gilbert  Stewart  the  snuff- 
grinder  — sureties,  the  Dr.  and  Mrs.  Benjamin  Mumford,  and  Mrs.  Hannah 
Mumford." 

It  is  generally  supposed  that  the  manner  here  given  of  spelling  the  family 
name  was  owing  to  the  carelessness  of  the  clerk  who  made  the  entry,  but,  as  a 
matter  of  fact,  signatures  of  the  snuff-grinder  that  have  come  down  to  us  show 
that  he  himself  spelled  his  name  in  this  way.  Another  thing  to  be  noted  in 
this  baptismal  record  is  that  the  painter's  name,  frequently  written  Gilbert 
Charles  Stuart,  is  entered  simply  as  Gilbert  Stuart,  and  if,  as  tradition  has  it, 
the  Charles  was  later  inserted  because  of  his  father's  loyalty  to  "bonnie  Prince 
Charlie,"  Stuart  himself  did  not  long  retain  it. 

Gilbert  Stuart's  earliest  years  were  passed  in  the  place  of  his  birth,  but  the 
snuff-mill  not  showing  the  hoped-for  profits,  and  Mrs.  Stuart  coming  into 
possession  of  a  small  property,  it  was  deemed  advisable  when  he  was  still  very 

[23] 


24  MASTERS    IN    ART 

young  to  move  to  Newport,  where  he  could  have  the  benefit  of  the  good  edu- 
cation afforded  by  the  parochial  school  there  kept  by  the  Rev.  George  Bissett, 
assistant  minister  of  Trinity  Church.  Under  his  guidance  the  boy  made  ex- 
cellent progress,  but  it  was  no  easy  task  for  him  to  devote  his  thoughts  to  study. 
His  spirits  were  too  high  and  his  love  of  play  too  strong.  Writing  many  years 
later  of  this  period  in  his  life,  his  daughter  says:  "Young  Stuart  was  at  the 
very  head  and  front  of  mischief  of  every  kind,  but  a  great  favorite  with  all  his 
schoolfellows — a  sort  of  master-spirit,  his  companions  willingly  yielding  him 
the  lead  on  every  occasion."  From  one  of  his  schoolmates  and  closest  friends, 
Dr.  Waterhouse,  we  learn  that  he  was  "a  very  capable  and  self-willed  boy, 
who  was  indulged  in  everything,  being  an  only  son,  handsome  and  forward 
and  habituated  at  home  to  have  his  own  way  with  little  or  no  control  from  his 
easy,  good-natured  father." 

Even  at  this  early  stage  of  his  career  Stuart  had  given  evidence  of  talent  in 
the  line  in  which  he  afterwards  became  famous.  At  thirteen  he  had  made 
some  drawings  admirable  for  so  young  a  draftsman.  At  about  this  time  too 
he  painted  his  first  picture  in  oils,  a  pair  of  Spanish  dogs  belonging  to  Dr. 
William  Hunter  of  Newport,  and  when  fourteen  he  executed  what  are  said  to 
be  his  earliest  portraits,  those  of  John  Banister  and  Mrs.  Christian  Banister, 
now  in  the  Redwood  Library,  Newport. 

Stuart's  first  teacher  in  art  was  Cosmo  Alexander,  a  Scotchman  who  spent 
some  few  years  in  the  colonies,  and  upon  his  return  to  Scotland  in  1772  per- 
suaded his  pupil,  then  in  his  eighteenth  year,  to  accompany  him,  promising 
him  advantages  in  art  not  to  be  obtained  at  that  day  in  America. 

Unfortunately,  soon  after  reaching  Edinburgh  Alexander  died,  leaving 
Stuart  to  the  care,  not,  as  is  usually  stated,  of  Sir  George  Chambers,  "who 
quickly  followed  Alexander  to  the  grave,"  but  probably  to  a  friend  and  rela- 
tive of  Alexander's,  Sir  George  Chalmers.  Whether  this  new  guardian  was 
unmindful  of  young  Stuart's  welfare,  or  was  unable  to  lend  him  a  helping 
hand,  is  not  known;  all  that  we  do  know  is  that  Stuart,  who,  with  his  charac- 
teristic dislike  of  dwelling  on  disagreeable  subjects,  could  never  be  induced  to 
talk  about  this  experience,  after  an  absence  of  two  years  returned  to  America 
penniless  and  in  rags,  having  worked  his  passage  home  in  a  collier  by  way  of 
Nova  Scotia. 

He  now  set  to  work  in  good  earnest  to  supply  by  hard  labor  his  lack  of 
knowledge  of  art,  of  which  during  his  sojourn  in  Scotland  he  had  become  fully 
conscious.  Together  with  his  friend  Waterhouse,  he  hired  a  "strong-muscled 
blacksmith"  to  pose  as  a  model,  and  that  his  progress  was  rapid  and  his  ability 
marked  is  shown  by  the  prompt  appreciation  his  works  met  with.  A  portrait 
of  his  grandmother,  who  had  died  when  he  was  a  child  often  or  twelve,  painted 
from  memory,  was  so  excellent  a  likeness  that  her  son,  his  mother's  brother, 
Captain  Joseph  Anthony,  commissioned  the  promising  young  artist  to  paint 
his  portrait  as  well  as  portraits  of  his  wife  and  children.  This  led  to  other 
orders,  and  he  was  soon  employed  by  some  of  the  wealthy  Jewish  families  who 
then  lived  in  Newport. 

[24] 


STUART  25 

Stuart's  success  is  the  more  remarkable  when  we  consider  the  troubled 
condition  of  the  country  at  that  time.  The  colonies  were  growing  daily  more 
hostile  to  the  mother-country,  party  feeling  ran  high,  and  war,  that  worst  of 
enemies  to  art  and  art-patronage,  seemed  imminent.  When  at  length  hostili- 
ties broke  out  at  Lexington,  presagrng  the  complete  rupture  so  soon  to  follow 
between  Great  Britain  and  the  American  colonies,  Stuart,  seeing  but  small 
chance  of  advancement  in  his  art  at  home,  embarked,  on  June  1 6,  1775,  the 
day  before  the  Battle  of  Bunker  Hill,  for  England,  where  his  friend  Water- 
house  had  but  lately  gone,  and  where  he  felt  sure  of  finding  surroundings 
more  congenial  to  his  tastes — above  all,  where  he  could  have  what  was  held 
by  all  young  artists  of  that  day  in  America  to  be  of  inestimable  value:  the 
advantage  of  studying  under  the  guidance  of  Benjamin  West,  then  living  in 
London. 

Stuart  reached  London  in  September,  1775.  His  friend  Waterhouse  was  in 
Edinburgh  at  the  time,  and  he  found  himself  poor  and  alone  in  the  metropolis. 
Most  unexpectedly  he  happened  upon  a  means  of  support.  One  day  as  he 
passed  a  church  in  Foster  Lane  he  heard  through  the  open  doorway  the  strains 
of  an  organ.  To  Stuart,  who  was  not  only  a  lover  of  music,  but  himself  a  mu- 
sician of  some  proficiency,  this  was  enough.  Carefully  avoiding  the  pew- 
woman,  whose  fee  of  a  penny  he  was  unable  to  pay,  he  stepped  into  the  build- 
ing, where  he  discovered  that  a  trial  of  candidates  for  the  position  of  organist 
was  being  held.  He  at  once  asked  if  he,  a  stranger,  might  enter  the  competi- 
tion. His  request  was  granted,  with  the  result  that  he  was  engaged  as  organist 
of  the  church  at  a  salary  of  thirty  pounds  a  year.  This  modest  sum  enabled 
him  to  live,  and  he  now  turned  his  attention  to  his  painting;  but  in  a  desultory 
sort  of  way,  for  such  were  the  caprices  of  his  genius  that  even  when  poverty 
stared  him  in  the  face  he  let  his  opportunities  slip  and  painted  only  when  the 
fancy  seized  him. 

When  Dr.  Waterhouse  returned  to  London  he  found  Stuart  in  lodgings  so 
far  from  those  which  he  himself  occupied,  near  a  prominent  hospital  where  he 
was  pursuing  his  medical  studies,  that  it  was  arranged  that  Stuart  should  re- 
move to  a  location  permitting  of  a  daily  meeting  between  the  two  friends. 
Moreover,  with  the  improvident  painter  close  at  hand  Waterhouse  could  more 
easily  see  that  he  was  not  in  arrears  with  either  his  landlord  or  washerwoman 
—  a  state  of  affairs  only  too  common  with  Stuart. 

Through  the  kindness  of  this  same  friend  a  few  orders  for  portraits  were 
given  the  artist.  Stuart,  however,  worked  but  fitfully,  beginning  some  por- 
traits only  to  leave  them  half  finished,  while  others  were  not  even  started.  No 
wonder  that  he  continued  poor  and  in  debt,  although  according  to  Dr.  Water- 
house  he  himself  handed  over  to  him  two  thirds  of  his  own  allowance  of 
pocket-money,  "and  more  than  once  the  other  third."  And  yet  nothing  could 
weaken  the  bond  of  affection  between  the  two  young  men.  "Stuart  through- 
out his  life,"  writes  Mr.  Samuel  Isham,  "was  recognized  as  exempt  from  the 
ordinary  obligations  of  life;  he  borrowed  and  did  not  pay,  he  promised  and 
did  not  perform.  He  was  improvident  when  providence  was  a  duty,  and  yet 

[25] 


26  MASTERS     IN     ART 

with  it  all  so  gay,  so  brilliant,  so  talented,  with  a  so-ingratiating  personal 
charm  that  he  was  loved  like  a  child,  and  those  who  suffered  most  by  his  faults 
strove  hardest  to  find  some  excuse  for  them." 

All  this  time  Stuart  had  never  been  introduced  to  Benjamin  West,  to  profit 
by  whose  instruction  had  been  the  express  object  of  his  crossing  the  ocean. 
This  delay  is  the  more  unaccountable  as  it  is  well  known  that  West's  doors 
were  open  to  all,  and  especially  to  Americans.  Waterhouse  had  been  intro- 
duced to  the  celebrated  historical  painter,  and  says  that  he  "called  upon  Mr. 
West  and  laid  open  to  him  his  (Stuart's)  situation,  when  that  worthy  man  saw 
into  it  at  once,  and  sent  him  three  or  four  guineas,  and  two  days  afterwards 
he  sent  his  servant  into  the  city  to  ask  Mr.  Stuart  to  come  to  him,  when  he 
employed  him  in  copying."  Another  and  more  probable  version  of  Stuart's 
meeting  with  West  is  given  by  Sully,  the  painter,  who  relates  that  Mr.  Whar- 
ton,  an  old  friend  of  West's,  recounted  to  him  in  Philadelphia  that  when  dining 
one  day  with  West  in  London,  together  with  several  other  Americans,  a  servant 
announced  a  person  as  wanting  to  speak  to  the  host. 

"I  am  engaged,'  said  West;  but  after  a  pause  he  added,  'Who  is  he  ?'  'He 
says,  sir,  that  he  is  from  America.'  That  was  enough.  West  left  the  table  im- 
mediately, and  on  returning  said, '  Wharton,  there  is  a  young  man  in  the  next 
room  who  says  he  is  known  in  our  city;  go  you  and  see  what  you  can  make  of 
him.'  I  went  out  and  saw  a  handsome  youth  in  a  fashionable  greatcoat,  and  I 
at  once  told  him  that  I  was  sent  to  see  what  I  could  make  of  him.  'You  are 
known  in  Philadelphia  ?'  'Yes,  sir.'  'Your  name  is  Stuart?'  'Yes.'  'Have 
you  no  letters  for  Mr.  West  ? '  '  No,  sir.'  '  Who  do  you  know  in  Philadelphia  ? ' 
'Joseph  Anthony  is  my  uncle.'  'That  is  enough, —  come  in,'  and  I  carried 
him  in  and  he  received  a  hearty  welcome." 

Thus,  after  allowing  two  years  and  more  to  slip  by,  Stuart  was  received  by 
West  as  a  pupil,  and,  as  was  not  unusual  in  those  days,  became  an  inmate  of 
his  master's  house.  During  the  four  or  five  years  passed  under  West's  guid- 
ance, Stuart,  in  spite  of  his  vagaries  and  trying  ways,was  treated  with  uniform 
kindness  and  consideration,  and  if  the  gifted  pupil  could  gain  nothing  from 
his  master's  stilted  style  and  dry  manner  of  painting,  he  profited  greatly  by  his 
close  association  with  such  a  man  as  West,  and  by  the  opportunity  afforded 
him  of  meeting  the  distinguished  people  who  frequented  the  studio  of  the  pop- 
ular American  artist,  painter  to  His  Majesty  George  in. 

In  addition  to  his  studies  under  West,  Stuart  drew  in  the  Royal  Academy 
schools,  attended  Cruikshank's  lectures  on  anatomy,  and  heard  Sir  Joshua 
Reynolds's  celebrated  discourses;  and  yet,  no  matter  under  whose  teaching  he 
might  come,  his  manner  of  painting  was  and  always  remained  peculiarly  his 
own. 

In  1777  he  first  exhibited  at  the  Royal  Academy,  and  in  1782  achieved 
a  triumph  there  by  his  'Portrait  of  a  Gentleman  Skating.'  This  picture,  a 
full-length  portrait  of  Mr.  William  Grant,  of  Congalton,  skating  in  St.  James's 
Park,  owned  in  England  by  Charles  Stapleton  Pelham-Clinton,  Esq.,  at  once 
established  his  reputation.  He  now  determined  to  strike  out  for  himself; 
but  before  leaving  West  he  painted  a  portrait  of  his  master  which  West  him- 

[26] 


STUART  27 

self  commended,  saying  to  his  pupil,  "You  have  done  well,  Stuart,  very  well; 
now  all  you  have  to  do  is  to  go  home  and  do  better." 

Thus  encouraged,  Stuart  took  a  house  in  London,  set  up  his  own  studio, 
and  at  once  attained  such  success  that  he  may  be  said  to  have  rivaled  Sir 
Joshua  Reynolds  and  Gainsborough  in  popularity.  Although  the  prices  he 
asked  for  his  portraits  were  second  only  to  the  prices  received  by  those  paint- 
ers, orders  poured  in  upon  him.  Among  the  many  distinguished  people  who 
sat  to  him  were  King  George  in.,  the  Prince  of  Wales,  the  Duke  of  North- 
umberland, Admiral  Sir  John  Jervis,  the  Duke  of  Manchester,  Sir  Joshua 
Reynolds,  Copley,  Gainsborough,  John  Kemble,  Isaac  Barre,  and  Alderman 
Boydell. 

For  a  brief  period  Stuart  lived  like  a  prince.  The  money  he  won  so  easily 
was  spent  with  equal  ease,  and  with  never  a  thought  for  the  morrow.  He  hired 
a  fine  house,  kept  a  corps  of  servants,  and  entertained  right  royally.  On  the 
friendliest  of  terms  with  his  brother  artists,  he  was  also  sought  after  by  per- 
sons of  high  rank  and  distinction.  His  ready  wit  and  sparkling  humor  de- 
lighted one  and  all. 

Not  long  after  establishing  himself  in  this  princely  fashion,  Stuart,  then  in 
his  thirty-first  year,  married  Miss  Charlotte  Coates,  daughter  of  Dr.  Coates 
of  Berkshire,  England,  and  sister  of  a  friend  of  Stuart's,  who,  although  per- 
sonally attached  to  the  painter,  did  all  in  his  power  to  prevent  his  sister's  mar- 
riage with  one  so  reckless  in  his  habits  and  expenditure  as  Stuart  was  known 
to  be.  Opposition  was  useless,  however,  and  with  the  reluctant  consent  of  the 
lady's  family,  the  marriage  took  place  on  May  10,  1786. 

Mrs.  Stuart  had  beauty,  and,  an  attraction  which  counted  for  even  more 
with  Stuart,  a  rich  contralto  voice.  Stuart  himself  was  tall,  of  fine  physique, 
with  brown  hair,  ruddy  complexion,  and  pronounced  features;  not  what 
would  be  called  a  handsome  man,  but  possessed  of  a  power,  when  he  chose 
to  exert  it,  of  charming  all  with  whom  he  came  in  contact,  though  unfor- 
tunately his  capricious  disposition  and  quick  outbursts  of  temper  often 
alienated  those  who  could  not  always  remember  that  his  heart  was  warm  and 
his  real  nature  true  and  sincere. 

The  inevitable  result  of  Stuart's  extravagant  mode  of  life  was  soon  shown, 
and  partly  to  escape  financial  embarrassments  he  removed  in  1788  to  Ireland, 
where  he  opened  a  studio  in  Dublin.  His  success  in  the  Irish  capital  was  im- 
mediate. "He  was  delighted  with  the  society  he  met  there,"  writes  his 
daughter;  "the  elegant  manners,  the  wit,  and  the  hospitality  of  the  upper  class 
of  the  Irish  suited  his  genial  temperament.  I  am  sorry  to  say  that  Stuart  en- 
tered too  much  into  their  convivialities.  The  fact  is,  it  was  his  misfortune — 
I  might  say  his  curse  — to  have  been  such  an  acquisition  to  and  so  sought  after 
by  society." 

Whether  there  is  any  truth  in  the  story  that  Stuart's  creditors  followed  him 
to  Ireland,  and  that  many  of  the  portraits  of  the  nobility  painted  there  were 
painted  while  in  the  debtors'  prison,  is  open  to  doubt,  but  we  know  that  though 
constantly  employed  and  liberally  paid  he  never  had  money  enough  to  meet 
his  expenses,  and  that  when  in  1 792  he  made  up  his  mind  to  return  to  America, 

[27] 


28  MASTERS    IN    ART 

he  was  so  impecunious  that  he  lacked  means  to  pay  for  his  passage  across  the 
ocean,  and  agreed  as  an  equivalent  to  paint  a  portrait  of  the  owner  of  the 
ship. 

It  has  always  been  said  that  Stuart's  determination  to  return  to  his  own 
country  was  prompted  by  a  patriotic  desire  to  paint  a  portrait  of  Washington 
—  a  desire  so  strong  that  no  inducements  to  remain  could  alter  his  decision. 
Whatever  may  have  been  the  impelling  cause  of  his  return,  it  stands  re- 
corded that  in  the  autumn  of  1792,  after  an  absence  of  seventeen  years,  Gil- 
bert Stuart  landed  in  New  York.  The  reception  given  him  by  his  country- 
men was  most  cordial.  He  at  once  established  himself  in  Stone  Street,  near 
William,  then  one  of  the  most  desirable  parts  of  the  city;  and  as  soon  as  it 
became  known  that  he  was  ready  for  sitters,  his  brush  was  kept  busy.  Before 
long  he  received  an  order  to  paint  the  Duke  of  Kent,  who  offered  to  send  a 
ship  of  war  for  him,  but  so  firm  was  his  determination  to  paint  Washington's 
portrait  that  he  declined.  In  after  years  Stuart  used  to  say  that  he  regarded 
his  declining  this  offer  as  the  most  signal  mistake  of  his  life. 

Two  years  were  allowed  to  pass  before  his  purpose  was  accomplished.  In 
the  winter  of  1794-95,  however,  Stuart  went  to  Philadelphia,  furnished  with  a 
letter  of  introduction  to  Washington  from  the  Hon.  John  Jay,  and  soon  after 
his  arrival  called  upon  the  President  and  left  his  card  and  letter.  The  response 
was  an  invitation  to  pass  an  evening  with  Washington,  who  received  him  with 
cordiality,  but  who,  by  Stuart's  own  acknowledgment,  so  awed  the  painter  by 
the  dignity  of  his  presence  that  for  a  moment  even  Stuart's  self-possession  de- 
serted him.  It  was  soon  arranged  that  the  President  should  sit  to  the  painter, 
and  toward  the  spring  of  1795  Stuart  fulfilled  his  long-cherished  wish. 

Besides  portraits  of  the  President  and  Mrs.  Washington,  he  painted  many 
of  the  prominent  men  and  beautiful  women  then  gathered  in  Philadelphia,  at 
that  time  the  very  center  of  fashion  and  gaity  in  the  young  republic.  Congress 
held  its  sessions  there,  and  from  foreign  lands,  as  well  as  from  different  parts 
of  the  United  States,  distinguished  men  and  women  were  assembled.  Stuart's 
painting-room  at  Fifth  and  Chestnut  Streets  became  the  resort  of  all  the  fash- 
ionable society,  and  in  order  to  paint  without  interruption  he  was  obliged  to 
take  a  studio  in  Germantown,  some  six  miles  distant. 

After  the  removal  of  Congress  to  the  city  of  Washington  Stuart  transferred 
his  studio  to  the  new  capital,  where  his  rooms  on  F  Street,  near  Seventh,  were 
as  much  frequented  by  prominent  people  as  had  been  his  studios  in  New  York 
and  Philadelphia.  His  brush,  indeed,  would  never  have  been  allowed  to  rest 
had  his  clients  had  their  way.  A  friend  of  Mrs.  Madison's,  writing  to  that 
lady  during  one  of  her  temporary  absences  from  Washington,  says,  "Stuart 
is  all  the  rage,  he  is  almost  worked  to  death,  and  every  one  is  afraid  that  they 
will  be  the  last  to  be  finished.  He  says,  'The  ladies  come  and  say,  "Dear  Mr. 
Stuart,  I  am  afraid  you  will  be  very  much  tired;  you  really  must  rest  when  my 
picture  is  done"!" 

After  about  two  years  in  Washington,  Stuart,  urged  thereto  by  the  Hon. 
Jonathan  Mason,  then  United  States  senator  from  Massachusetts,  removed  to 
Boston,  where  the  remainder  of  his  life  was  spent.  His  house  and  studio  in 

[281 


STUART  29 

that  city  were  first  in  Washington  Place,  Fort  Hill,  and  later  in  Essex  Street. 
At  one  time — during  the  war  of  1812 — he  resided  in  Roxbury.  His  sitters 
included  many  of  Boston's  well-known  men  and  women,  and  his  vogue  as  a 
portrait-painter  continued  with  unabated  success  until  within  a  short  time  of 
his  death,  when  age  and  failing  health  impaired  his  powers. 

The  number  of  portraits  painted  by  Stuart  after  his  return  from  England  has 
been  roughly  estimated  at  about  eight  hundred.  This  does  not  include  many 
of  his  unfinished  pictures,  too  numerous  to  be  counted.  All  of  these,  thrown 
aside  for  one  reason  or  another,  were  banished  to  the  garret,  where  they  were 
allowed  to  remain.  Mr.  George  C.  Mason  tells  us  that  the  artist  was  quick  to 
take  offence  at  any  remark  or  comment  on  a  portrait  before  it  was  completed. 

"On  one  occasion,"  he  says,  "a  lady  left  her  seat,  and  looking  over  the 
artist's  shoulder,  found  fault  with  the  likeness  he  was  painting.  He  tried  for  a 
moment  to  be  amiable,  and  quoted  the  text  from  St.  James:  'A  man  behold- 
eth  his  natural  face  in  a  glass  and  goeth  his  way,  and  straightway  forgetteth 
what  manner  of  man  he  was.'  Then  he  rose  from  his  chair  and  in  his  most 
polite  manner  said,  'Excuse  me,  Madam,  I  cannot  paint  by  direction.'  Hav- 
ing said  this,  he  strode  across  the  room,  rang  the  bell,  and  ordered  the  servant 
to  take  the  canvas  to  the  garret — a  step  that  brought  a  flood  of  tears  to  the 
eyes  of  the  sitter;  but  that  had  no  effect  on  the  painter." 

One  of  Stuart's  last  portraits  was  that  of  John  Adams,  painted  in  1825, 
when  Mr.  Adams  was  in  his  ninetieth  year.  Some  time  before  this  he  had 
painted  one  of  John  Quincy  Adams,  in  whose  diary,  under  date  of  September 
19, 1818,  occurs  the  following  entry:  "I  sat  to  Stuart  before  and  after  breakfast, 
and  found  his  conversation,  as  it  had  been  at  every  sitting,  very  entertaining. 
His  own  figure  is  highly  picturesque,  with  his  dress  always  disordered,  and 
taking  snuff  from  a  large,  round  tin  wafer  box,  holding  perhaps  half  a  pound, 
which  he  must  use  up  in  a  day." 

This  habit  of  taking  snuff  was  with  Stuart  inveterate.  Indeed,  as  one  of  his 
biographers  has  said,  "  His  snuff-boxwas  as  necessary  to  him  as  his  palette  and 
pencils,  and  always  had  a  place  on  his  easel."  But  although  himself  deriving 
comfort  from  the  habit,  he  warned  others  against  it,  pronouncing  it  to  be  "vile, 
pernicious,  and  dirty,"  humorously  pleading  as  an  excuse  for  his  own  practice 
that  he  was  "born  in  a  snuff-mill." 

In  1825  Stuart's  health  began  to  fail.  Symptoms  of  paralysis  greatly  de- 
pressed him,  and  although  his  mind  remained  clear  and  unimpaired  to  the 
last,  his  buoyant  spirits  deserted  him,  and  it  was  only  occasionally  that  flashes 
of  the  brilliant  wit  for  which  he  had  been  famous  were  shown.  In  the  spring 
of  1828  the  gout,  to  which  he  had  Ipng  been  a  victim,  attacked  his  chest  and 
stomach;  for  three  months  he  suffered  acutely  and  bore  the  torture  with 
fortitude.  On  July  9,  1828,  as  recorded  in  the  original  register  of  deaths  in 
the  city  of  Boston,  the  end  came,  and  in  the  seventy-third  year  of  his  age 
Gilbert  Stuart  passed  away,  leaving  his  wife  and  three  daughters  to  survive 
him.  He  was  buried  in  the  cemetery  on  Boston  Common,  where  to-day  a 
bronze  tablet  marks  as  nearly  as  can  be  determined  the  location  of  the  vault. 

[29] 


30  MASTERS    IN    ART 

THE  following  extract  is  from  an  obituary  notice  of  Gilbert  Stuart  by 
Washington  Allston,  written  on  July  17,  and  published  in  the  'Boston 
Daily  Advertiser'  of  July  22,  1828. 

GILBERT  STUART  was  not  only  one  of  the  first  painters  of  his  time,  but 
must  have  been  admitted,  by  all  who  had  an  opportunity  of  knowing  him, 
to  have  been,  even  out  of  his  art,  an  extraordinary  man;  one  who  would  have 
found  distinction  easy  in  any  other  profession  or  walk  of  life.  His  mind  was 
of  a  strong  and  original  cast,  his  perceptions  as  clear  as  they  were  just,  and  in 
the  power  of  illustration  he  has  rarely  been  equaled.  On  almost  every  sub- 
ject, more  especially  on  such  as  were  connected  with  his  art,  his  conversation 
was  marked  by  wisdom  and  knowledge;  while  the  uncommon  precision  and 
elegance  of  his  language  seemed  ever  to  receive  an  additional  grace  from  his 
manner,  which  was  that  of  a  well-bred  gentleman. 

The  narrations  and  anecdotes  with  which  his  knowledge  of  men  and  of  the 
world  had  stored  his  memory,  and  which  he  often  gave  with  great  beauty  and 
dramatic  effect,  were  not  unfrequently  employed  by  Mr.  Stuart  in  a  way  and 
with  an  address  peculiar  to  himself.  From  this  store  it  was  his  custom  to  draw 
largely  while  occupied  with  his  sitters — apparently  for  their  amusement;  but 
his  object  was  rather,  by  thus  banishing  all  restraint,  to  call  forth,  if  possible, 
some  involuntary  traits  of  the  natural  character.  But  these  glimpses  of  charac- 
ter, mixed  as  they  are  in  all  men  with  so  much  that  belongs  to  their  age  and 
associates,  would  have  been  of  little  use  to  an  ordinary  observer;  for  the  faculty 
of  distinguishing  between  the  accidental  and  the  permanent,  in  other  words, 
between  the  conventional  expression  which  arises  from  manners  and  that 
more  subtle  indication  of  the  individual  mind,  is  indeed  no  common  one;  and 
by  no  one  with  whom  we  are  acquainted  was  this  faculty  possessed  in  so  re- 
markable a  degree.  It  was  this  which  enabled  him  to  animate  his  canvas — 
not  with  the  appearance  of  mere  general  life,  but  with  that  peculiar  distinctive 
life  which  separates  the  humblest  individual  from  his  kind.  He  seemed  to 
dive  into  the  thoughts  of  men,  for  they  were  made  to  rise  and  to  speak  on  the 
surface.  Were  other  evidences  wanting,  this  talent  alone  were  sufficient  to  es- 
tablish his  claims  as  a  man  of  genius,  since  it  is  the  privilege  of  genius  alone  to 
measure  at  once  the  highest  and  the  lowest.  In  his  happier  efforts,  no  one  ever 
surpassed  him  in  embodying  (if  we  may  so  speak)  these  transient  apparitions 
of  the  soul. 

In  a  word,  Gilbert  Stuart  was,  in  its  widest  sense,  a  philosopher  in  his  art; 
he  thoroughly  understood  its  principles,  as  his  works  bear  witness — whether 
as  to  the  harmony  of  colors,  or  of  lines,  or  of  light  and  shadow — showing  that 
exquisite  sense  of  a  whole  which  only  a  man  of  genius  can  realize  and  em- 
body. .  .  . 

In  the  world  of  art  Mr.  Stuart  has  left  a  void  that  will  not  soon  be  filled. 
And  well  may  his  country  say,  "A  great  man  has  passed  from  amongst  us." 
But  Gilbert  Stuart  has  bequeathed  her  what  is  paramount  to  power — since 
no  power  can  command  it — the  rich  inheritance  of  his  fame. 

[30] 


ST  U  ART  31 


&rt  of  Stuart 

SAMUEL    ISHAM  <THE    HISTORY    OF    AMERICAN    PAINTING'l 

GILBERT  STUART  still  holds  his  place  among  our  best  painters,  and 
even  among  his  great  contemporaries  in  England.  His  scope  was  limited. 
While  they  covered  large  canvases  with  full-length  figures  and  groups,  using 
every  aid  of  composition  and  costume  to  produce  their  effects,  and  showing 
the  result  of  this  practice  even  in  the  arrangement  of  their  half-length  por- 
traits, Stuart  painted  heads  and  little  besides  heads,  as  far  as  known  not  a 
single  group,  a  few  full-lengths,  more  half-lengths,  a  large  number  of  what 
used  to  be  called  Kit-Kats — canvases  thirty  bytwenty-five  inches — and  many 
even  smaller  than  that.  The  heads  are  placed  near  the  center  of  the  canvases, 
often  so  near  it  that  the  figure,  which  was  painted  in  afterward,  is  cramped  as 
it  would  not  be  if  the  head  were  higher.  There  is  no  effort  to  diversify  the  atti- 
tudes; and  the  costumes,  while  skilfully  and  sufficiently  done,  are  but  acces- 
sories to  the  heads,  and  there  is  no  attempt  to  make  them  of  important  pic- 
torial interest.  The  heads  themselves  are  all  painted  in  a  cool,  diffused  light, 
seldom  relieved  by  heavy  shadows  or  dark  backgrounds.  There  is  nothing 
striking,  nothing  forced;  it  is  only  a  head  —  a  head  with  its  ordinary  lighting 
and  expression.  No  artifice  is  used  to  throw  it  into  undue  prominence.  Within 
these  limitations  (and  they  are  serious  ones)  they  are  unsurpassed.  No  one  of 
his  contemporaries  had  a  surer  feeling  for  the  construction  of  a  head  or  a  surer 
insight  into  character.  There  are  contradictory  reports  of  his  industry  or  in- 
dolence in  studying  drawing;  but  whether  by  industry  or  nature,  he  possessed 
it  thoroughly,  as  far  as  the  human  features  were  concerned. 

Where  he  acquired  his  technique  as  a  painter  is  even  more  mysterious.  It 
seems  to  have  been  original  with  him.  He  could  have  got  little  teaching  from 
Cosmo  Alexander  in  Newport  or  in  his  erratic  life  before  meeting  West.  .  .  . 
Exactly  what  the  influence  of  his  stay  in  West's  studio  was  is  difficult  to  de- 
termine; the  obvious  effects  to  be  looked  for  he  seems  to  have  completely  es- 
caped. He  got  no  taste  for  imitating  the  old  masters,  nor  any  liking  for  alle- 
gory, nor  any  skill  in  composition  or  in  the  handling  of  large  canvases. 
Dunlap  recognized  their  "difference  of  opinion  and  style,"  and  in  connection 
with  it  mentions  the  following  circumstance  which  took  place  about  1786  on 
the  occasion  of  a  visit  to  his  old  master's  house  and  gallery  in  Newman  Street: 
"Trumbull  was  painting  on  a  portrait,  and  the  writer  literally  lending  him  a 
band  by  sitting  for'  it.  Stuart  came  in,  and  his  opinion  was  asked  as  to  the 
coloring,  which  he  gave  very  much  in  these  words :  '  Pretty  well,  pretty  well, 
but  more  like  our  master's  flesh  than  nature's.  When  Benny  teaches  the  boys, 
he  says,  "yellow  and  white  there,"  and  he  makes  a  streak;  "red  and  white 
there,"  another  streak;  "brown  and  red  there  for  a  warm  shadow,"  another 
streak;  "red  and  yellow  there,"  another  streak.  But  nature  does  not  color  in 

1From  advance  sheets  of  Samuel  Isham's  '  History  of  American  Painting.'  The  Macmillan  Co., 
New  York,  1905. 

[31] 


32  MASTERS    IN    ART 

streaks.    Look  at  my  hand,  see  how  the  colors  are  mottled  and  mingled,  yet  all 
is  clear  as  silver.'" 

No  better  description  of  his  own  style  can  be  given.  He  paints  with  an  un- 
equaled  purity  and  freshness  of  color,  very  delicate  and  sure  in  the  half-tones, 
varying  his  color  to  suit  the  individual,  but  with  a  pearly  brightness  which  is 
characteristic.  The  paint  is  put  on  thinly,  as  a  rule,  in  short,  decided  touches 
without  heavy  impasto,"  mingled  and  mottled,  "as  he  himself  says,  and  his  exe- 
cution was  surprisingly  sure.  Two  or  three  sittings  sufficed  for  a  head,  which 
he  painted  at  once  in  its  true  colors,  distributing  the  paint  as  little  as  possible 
after  it  was  on  the  canvas,  and  without  resorting  to  the  glazings  and  varnish- 
ings  so  much  in  vogue  in  England.  This  sureness  of  touch  was  the  more  re- 
markable because  even  in  his  youth  Stuart's  hand  was  trembling  and  unsteady; 
and  in  his  later  years,  when  some  of  his  best  work  was  done,  an  eye-witness 
says  that  "his  hand  shook  so  that  it  seemed  impossible  that  he  could  paint. 
The  last  time  I  saw  him  I  think  he  was  painting  the  portrait  of  Josiah  Quincy 
(in  1824).  Stuart  stood  with  his  wrist  upon  the  rest,  his  hand  vibrating,  and, 
when  it  became  tolerably  steady,  with  a  sudden  dash  of  the  brush  he  put  the 
color  on  the  canvas." 

The  brilliancy  and  preservation  of  his  works  to-day  attest  the  soundness  of 
his  practice.  He  painted  with  a  restricted  palette  which  the  curious  may  find 
in  Dunlap  and  Mason,  with  his  method  of  setting  it;  but  let  them  not  hope  to 
produce  the  same  results.  Stuart's  style  was  his  own.  He  did  not  learn  it 
from  others,  and  though  he  gave  advice  freely  and  generously,  he  could  not 
teach  it  to  any  successor. 

ARTHUR    DEXTER  FROM     «THE    MEMORIAL    HISTORY    OF    BOSTON' 


HARMED  by  his  powers  of  conversation,  yielding  to  his  wonderful  fac- 
ulty  of  entering  into  the  train  of  others'  thoughts,  each  sitter  wore  his 
own  characteristic  expression  while  in  Stuart's  chair;  and  the  finished  por- 
trait often  revealed  habits  of  thought  and  feeling  known  only  to  intimate 
friends.  No  artist  ever  surpassed,  perhaps  none  ever  equaled  him  in  this  fac- 
ulty. "He  seemed,"  in  the  words  of  Allston,  "to  dive  into  the  thoughts  of 
men,  for  they  were  made  to  rise  and  speak  on  the  surface."  Even  in  his  more 
careless  works  this  quality  is  hardly  ever  absent.  Like  Copley,  Stuart  painted 
the  best  people  of  his  day;  but  his  portraits  are  so  much  more  individual,  each 
man's  idiosyncrasies  are  so  brought  out,  that  the  last  generation  lives  for  us 
with  a  vitality  unapproached  by  the  earlier  artist. 

As  a  colorist  Stuart  stands  very  high  if  judged  by  the  best  of  his  work. 
This  was  very  unequal;  and  he  painted  some  pictures  which  were  hard  and 
even  absolutely  bad  in  color.  His  best  were  superb  —  the  flesh  brilliant  and 
transparent  in  the  lights,  mellow  and  still  flesh-like  in  the  shadows.  The  bal- 
ance of  light  and  shade  is  excellent,  avoiding  the  dangerous  extremes  which  he 
himself  pointed  out  in  the  words:  "Where  there  is  too  much  light  there  will 
be  no  flesh  in  the  shadows;  where  too  little,  not  enough  flesh  in  the  lights." 
As  compositions  his  works  are  of  little  value.  Caring  for  nothing  but  the  face 
and  head,  and  for  them  as  the  handwriting  of  the  mind,  he  slighted  all  the  rest. 

[32] 


STUART  33 

One  of  his  maxims  runs  thus:  "  Keep  your  tints  as  separate  as  you  can;  no 
blending;  it  is  destructive  to  clear  and  beautiful  effect;  it  takes  off  transparency 
and  brightness  of  color  and  renders  flesh  of  the  consistency  of  buckskin."  He 
did  not  always  observe  his  own  rule;  but  when  he  did  his  heads  are  marvelous 
examples  of  handling.  The  flesh  glows.  At  the  proper  distance  the  tints  melt 
into  each  other  with  a  pure  richness  which  has  never  been  surpassed  in  flesh- 
painting.  Looked  at  more  closely,  they  are  models  for  an  artist  in  knowledge 
and  certainty  of  aim  and  the  production  of  effects  by  the  fewest  touches  and 
simplest  means. 

WILLIAM    HOWE    DOWNES  'ATLANTIC    MONTHLY*    1888 

FRANK  and  hearty,  like  himself,  Stuart's  portraits  are  full  of  robust  char- 
acter. For  the  purity  of  their  color  and  the  freshness  and  transparency  of 
their  flesh-tints  his  heads  will  be  always  remarkable.  He  never  spoiled  them 
by  over-elaboration,  for  he  knew  when  to  leave  them.  "Let  nature  tell  in 
every  part  of  your  painting,"was  one  of  his  counsels  to  young  artists;  "be  ever 
jealous  about  truth  in  painting."  He  forbade  his  pupils  to  blend  their  colors, 
and  the  admirable  condition  of  his  own  works  to-day  proves  that  he  practised 
what  he  preached  in  this  regard. 

Stuart  was  in  some  respects  more  modern  than  his  time,  and  undoubtedly 
partook  of  the  tendencies  and  aims  which  distinguish  the  intelligent  realists  of 
the  present  period.  He  had  the  happy  faculty  of  suggesting  much  by  a  slight 
touch,  and  did  only  what  he  could  do  well.  He  cared  more  for  nature  than  for 
art,  was  a  keen  reader  of  character,  and  understood  how  to  charm  and  draw 
out  his  sitters  in  conversation.  His  paintings  look  easy  when  compared  with 
others,  and  they  were  in  fact  executed  rapidly.  He  did  not  pay  much  attention 
to  what  came  before  him  in  art,  but  he  had  the  great  advantage  of  living  in 
England  during  the  golden  age  of  painting  in  that  country,  and  of  associating 
with  such  men  as  Sir  Joshua  Reynolds,  Gainsborough,  Sir  Thomas  Lawrence, 
West,  Sir  Henry  Raeburn,  and  the  others  who  were  the  glory  of  British  art. 

JANE    STUART  FROM    'MASON'S    LIFE    OF    STUART' 

I  AM  frequently  asked  by  young  artists  to  give  them  some  account  of  my 
father's  method  of  painting;  this  I  am  quite  willing  to  do,  so  far  as  my  early 
recollection  will  permit;  but  I  have  not  the  presumption  to  attempt  to  explain 
his  wonderful  effects,  which  were  peculiar  to  himself;  nor  do  I  believe  they 
could  be  transmitted.  .  .  . 

The  impression  I  have  received  from  a  study  of  Stuart's  heads  is  that  his 
success  was  due  in  a  great  measure  to  his  wonderful  perceptive  faculties.  As 
he  was  quick  to  read  the  character  of  a  sitter,  so  had  he  a  clear  insight  into  the 
color  of  his  complexion,  and  never  was  he  known  to  fail  in  this  particular. 

He  commenced  a  portrait  by  drawing  the  head  and  features,  and  then  he 
sketched  in  the  general  tone  of  the  complexion;  for  this  he  seldom  required 
more  than  four  or  five  sittings,  and  frequently  it  was  done  in  three  sittings.  The 
picture  was  never  touched  except  when  the  sitter  was  in  the  chair.  At  the 
second  sitting  he  introduced  transparent  flesh-tints,  at  the  third  he  began  to 

[33] 


34  MASTERS     IN     ART 

awaken  it  into  life  and  give  it  expression,  and  then  the  individuality  of  the 
sitter  came  out.  This  was  always  done  quickly.  In  the  portraits  of  men  ad- 
vanced in  life,  where  the  roundness  of  youth  is  gone,  we  can  almost  fancy  that 
he  has  given  motion  to  the  features.  .  .  . 

It  has  been  said  by  some  critics  that  his  coloring  was  too  strong — that  there 
was  too  great  a  preponderance  of  carnation  in  his  flesh-tints;  to  this  I  cannot 
subscribe.  Stuart  did  not  rely  on  or  require  strong  colors  to  produce  his  effects, 
for  he  had  the  faculty  of  bringing  out  his  heads  simply  by  the  use  of  middle 
tints  and  tones,  giving  all  the  required  rotundity  and  relief  without  the  assist- 
ance of  black  shadows  and  heavy  backgrounds;  and  yet  the  faces  so  painted 
are  full  of  character  and  expression.  In  his  work  there  is  no  appearance  of 
labor,  but  everything  that  he  did  showed  force  and  energy — so  long  as  he 
kept  to  the  head.  When  that  was  completed  his  enthusiasm  seems  to  have 
abated.  With  some  notable  exceptions,  the  other  parts  of  his  pictures  were 
painted  but  indifferently;  but  if  he  particularly  fancied  the  subject,  or  the 
sitter  was  one  in  whom  he  took  more  than  his  usual  interest,  he  worked  with 
the  greatest  care  to  the  end.  In  his  draperies  he  was  exceedingly  careless,  but 
he  amused  himself  at  times  by  painting  lace,  showing  with  a  few  bold  touches 
of  his  pencil  how  easy  it  is  to  produce  an  effect  when  one  understands  what  he 
is  about.  But  if  any  one  of  his  intimate  friends  took  him  to  task  for  careless- 
ness in  rubbing  in  the  accessories  in  a  portrait,  he  at  once  replied,  "I  copy  the 
works  of  God,  and  leave  clothes  to  tailors  and  mantua-makers." 

Color  was  one  of  Stuart's  strong  points,  and  on  this  subject  he  was  as  elo- 
quent in  conversation  as  he  was  successful  with  his  brush  when  he  wished  to 
illustrate  it.  He  seemed  to  bring  out  the  color  of  every  object  that  he  trans- 
ferred to  his  canvas.  The  story  that  has  been  told  again  and  again  of  West's 
remarks  to  his  other  pupils — "It  is  of  no  use  to  steal  Stuart's  colors:  if  you 
want  to  paint  as  he  does  you  must  steal  his  eyes" — will  bear  repealing  in  this 
connection.  And  this  reminds  me  that  many  artists,  puzzled  in  their  efforts 
to  produce  like  effects,  have  imagined  that  he  had  some  secret  connected  with 
the  management  of  his  colors;  but  this,  I  beg  to  say,  was  not  the  case. 

Stuart's  arrangement  of  his  palette,  so  far  from  being  complicated,  was  sim- 
plicity itself.  He  had,  of  course,  the  primaries,  and  from  these  he  formed  a 
chromatic  scale  of  tints,  varying  them  to  suit  the  major  or  minor  tones  of  his 
sitter's  complexion.  These  tints  were  kept  separate  and  distinct,  as  is  apparent 
in  his  pictures,  the  artist  trusting  to  time  to  mellow  them  and  blend  them  into 
a  whole.  Where  he  used  opposing  tints  he  did  it  with  judgment,  and  those 
who  look  upon  his  pictures  are  often  astonished  at  his  skill  in  bringing  them 
together  so  successfully.  His  tints  were  put  on  at  once,  and  not  worked  up, 
and  it  is  this  that  makes  it  so  difficult  to  copy  his  pictures;  for  the  moment  the 
copyist  hesitates  he  becomes  confused,  and  then  he  is  almost  sure  to  go 
wrong.  .  .  . 

I  believe  Stuart  thought  it  impossible  for  one  to  be  an  artist  without  ac- 
quiring a  thorough  knowledge  of  drawing  and  anatomy,  and  he  certainly  gave 
a  great  deal  of  time  to  these  studies  in  earlier  years.  Whatever  information  he 
acquired  in  his  studies  was  at  the  disposal  of  others,  and  he  never  withheld  any- 

[34] 


STUART  35 

thing  from  any  member  of  the  profession  who  sought  his  aid  and  advice  in  a 
proper  manner;  but  he  had  a  horror  of  anything  that  approached  the  affecta- 
tion of  a  dilettante,  or  the  pedantry  of  technical  phraseology.  His  own  views 
were  singularly  clear  and  to  the  point,  and  he  imparted  information  in  a  way 
that  left  no  doubt  of  his  meaning  on  the  mind  of  the  hearer. 

CHARLES    HENR.Y    HART  <BROWERE'S    LIFE    MASKS    OF    GREAT    AMERICANS' 

THAT  Stuart  was  a  master  in  the  art  of  portrait-painting  it  needs  no  argu- 
ment to  prove;  his  works  are  the  only  evidence  needed,  and  they  estab- 
lish it  beyond  appeal.  In  his  portraits  the  men  and  women  of  the  past  live 
again.  Each  individual  is  here,  and  it  was  Stuart's  ability  to  portray  the  indi- 
vidual that  was  his  greatest  power.  Each  face  looks  at  you  and  fain  would 
speak,  while  the  brilliant  and  animated  coloring  makes  one  forgetful  of  the 
past.  .  .  . 

Stuart  had  two  distinct  artistic  periods.  His  English  work  shows  plainly 
the  influence  of  his  English  contemporaries,  and  might  easily  be  mistaken,  as 
it  has  been,  for  the  best  work  of  Romney  or  of  Gainsborough.  But  his  Amer- 
ican work,  almost  the  very  first  he  did  after  his  return  to  his  native  soil,  pro- 
claims aloud  the  virility  and  robustness  of  his  independence.  The  rich,  juicy 
coloring  so  marked  in  his  fine  portraits  painted  here,  replaces  the  tender  pearly 
grays  so  predominant  in  his  pictures  painted  there.  The  delicate  precision  of 
his  early  brush  gives  way  to  the  masterful  freedom  of  his  later  one.  His  Eng- 
lish portraits  might  have  been  limned  by  Romney  or  by  Gainsborough,  but 
his  American  ones  could  have  been  painted  only  by  Gilbert  Stuart. 


of  Stuart 

DESCRIPTIONS    OF    THE    PLATES 
'GEORGE    WASHINGTON'  PLATE    I 

STUART  painted  three  portraits  of  Washington  from  life.  The  first,  ac- 
cording to  his  own  statement,  he  "rubbed  out;"  the  second  is  the  well- 
known  full-length  painted  for  the  Marquis  of  Lansdowne  and  called  the"Lans- 
downe  Washington;"  the  third  is  the  still  more  celebrated  portrait  here  repro- 
duced, known  as  the  "Athenaeum  Washington,"  from  the  fact  that  after  the 
artist's  death  it  was  presented  by  the  Washington  Association  and  other  gentle- 
men to  the  Boston  Athenaeum,  to  which  it  still  belongs,  though  for  many  years 
it  has  been  loaned  to  the  Boston  Museum  of  Fine  Arts,  where  it  now  hangs. 

Of  the  first  portrait — the  one  which  Stuart  said  he  erased  —  several  ver- 
sions exist,  all  showing  the  right  side  of  the  face,  whereas  the  "Lansdowne" 
and  the  "Athenaeum "  show  the  left  side.  The  most  widely  known  of  these 
earliest  portraits  is  the  so-called  Gibbs-Channing  picture,  now  belonging  to 
Mr.  S.  P.  Avery,  of  New  York. 

[35] 


36  MASTERS    IN    ART 

Of  the  second  portrait,  the  full-length,  Stuart  made  many  copies.  Ac- 
cording to  his  written  statement  the  original  was  sent  to  England,  where  it  is 
now  owned  by  the  Earl  of  Rosebery.  Of  late  years,  however,  it  has  been 
claimed  that  the  actual  canvas  painted  from  life  is  that  bearing  Stuart's  signa- 
ture now  in  the  Pennsylvania  Academy  of  the  Fine  Arts,  Philadelphia. 

As  to  the  genuineness  of  the  third  portrait,  the  one  here  reproduced,  no  dis- 
senting voice  has  ever  been  raised.  It  was  painted  in  Stuart's  studio  in  Ger- 
mantown,  Philadelphia,  and  although  the  President  had  just  had  a  badly 
fitting  set  of  false  teeth  inserted,  accounting  for  the  somewhat  constrained  ex- 
pression about  the  mouth,  both  sitter  and  artist  were  satisfied  with  the  success 
of  the  portrait.  Indeed,  Stuart  himself  was  so  well  pleased  with  it  that  he 
asked  Washington's  permission  to  retain  both  it  and  the  portrait  of  Mrs.  Wash- 
ington, painted  at  the  same  time  and  left  unfinished,  as  was  that  of  the  Presi- 
dent's, promising  to  furnish  Washington  with  replicas. 

It  has  been  said  that  this  portrait  is  not  so  much  a  likeness  as  an  "ideal 
head,"  and  that  one  or  another  version  of  Stuart's  first  or  second  portrait  is  a 
more  faithful  presentment  of  the  man.  This  may  be  so;  but  the  "Athenaeum 
Washington"  is  the  "Household  Washington,"  and  few  pictures  are  more 
celebrated  than  this  world-renowned  portrait.  It  has  been  copied  by  countless 
artists,  good,  bad,  and  indifferent,  and  engraved  more  than  three  hundred 
times.  Stuart  himself  used  to  call  it  his  "hundred-dollar  bill,"  for  if  at  any 
time  in  need  of  money  he  had  but  to  make  a  replica  of  his  "Washington,"  and 
his  copy  was  sure  to  find  a  ready  purchaser. 

In  speaking  of  this  portrait  Washington  Allston  said,  "Well  is  Stuart's  am- 
bition justified  in  the  sublime  head  he  has  left  us;  a  nobler  personification  of 
wisdom,  and  goodness,  reposing  in  the  majesty  of  a  serene  countenance,  is  not 
to  be  found  on  canvas." 


•THE    MARQUIS    AND     MARCHIONESS     DE    CASA    YRUJO'  PLATE     II 

IN  the  summer  of  1796  Senor  Don  Carlos  Martinez  de  Yrujo,  afterwards 
created  Marquis  de  Casa  Yrujo,  was  despatched  by  the  King  of  Spain  as 
envoy  entraordinary  and  minister  plenipotentiary  to  the  United  States.  A 
handsome  man,  of  medium  stature,  with  florid  complexion,  blue  eyes,  "hair 
powdered  like  a  snowball,"  and  dressed  in  the  height  of  the  fashion,  the  young 
Spaniard  created  a  sensation  in  the  society  of  the  "Republican  Court"  then 
assembled  in  Philadelphia.  In  Stuart's  fine  portrait  of  him  here  reproduced, 
showing  him  in  coat  of  brown  velvet  and  with  head  and  shoulders  relieved 
against  a  cloud-flecked  blue  sky,  the  painter, with  his  peculiar  genius  for  tran- 
scribing to  the  canvas  the  individuality  of  his  sitter,  has  admirably  portrayed 
the  distinguished  bearing  and  proud  spirit  of  the  young  marquis. 

It  was  at  a  state  dinner  in  Philadelphia  that  the  Spanish  minister  was  intro- 
duced to  Miss  Sally  McKean,  daughter  of  Thomas  McKean,  chief  justice  and 
afterwards  governor  of  Pennsylvania.  Although  then  barely  nineteen,  Miss 
McKean  was  one  of  the  reigning  belles  of  that  day,  and  by  her  wit  and  beauty 
at  once  completely  captivated  the  marquis.  Their  marriage  took  place  in  the 

[36] 


STUART  37 

spring  of  1798,  and  for  nearly  ten  years  following  they  continued  to  live  in 
America,  removing  to  Spain  in  1807. 

Stuart's  portrait  of  the  Marchioness  de  Casa  Yrujo,  reproduced  in  plate  n 
as  a  companion  picture  to  that  of  her  husband,  and  painted,  as  was  his,  soon 
after  their  marriage,  shows  us  a  charming  woman,  graceful  and  high-bred, 
portrayed  with  all  that  distinction  in  the  style  and  beauty  of  coloring  which 
mark  Stuart's  best  works. 

In  addition  to  these  portraits  of  the  marquis  and  his  American  bride,  Stuart 
painted  two  likenesses  of  each,  which  are  now  in  the  possession  of  the  family 
in  Spain.  The  two  given  in  plate  11  are  owned  by  Mrs.  Thomas  McKean,  of 
Philadelphia,  by  whose  permission  they  are  here  reproduced. 

«MRS.    TIMOTHY     PICKERING'  PLATEIII 

THERE  is  no  more  beautiful  example  of  Stuart's  skill  than  this  portrait  of 
Mrs.  Timothy  Pickering,  painted  between  1816  and  1818.  Mrs.  Picker- 
ing is  represented  seated  in  so  natural  an  attitude  that  there  is  no  suggestion 
of  being  "posed."  Her  black  silk  gown  with  folds  of  soft  muslin  about  the 
throat,  her  cap  of  the  same  sheer  material,  trimmed  with  lace,  and  the  ermine- 
bordered  mantle  of  a  delicious  shade  of  old  rose  color  which  has  fallen  from 
her  shoulders,  are  all  painted  with  a  care  and  finish  seldom  bestowed  by  Stuart 
upon  the  accessories  of  his  portraits,  while  on  the  finely  modeled  face  with 
its  delicate  flesh-tones  his  brush  has  evidently  lingered  with  loving  touch. 

Mrs.  Timothy  Pickering,  who  before  her  marriage  was  Rebecca  White,  was 
born  in  England,  in  1754.  While  still  a  child  she  came  to  America  with  her 
parents,  and  when  twenty-two  married  Colonel  Timothy  Pickering,  who  later 
became  one  of  the  prominent  men  of  the  country,  holding  high  government 
positions  of  honor  and  trust. 

Mrs.  Pickering  has  been  described  as  "  not  only  one  of  the  most  amiable  and 
lovely  of  women,  but  a  woman  of  strong  character  and  great  bravery."  In  ap- 
pearance she  was  "slight  and  somewhat  smaller  than  the  average  woman,  very 
quiet,  reserved  in  her  demeanor,  with  marked  gentleness  in  movement  and 
expression."  To  the  end  of  her  life,  it  was  said,  "she  continued  most  lovely  in 
her  bearing,  her  fair  complexion  never  losing  its  beautiful  bloom." 

Stuart's  portrait  of  her  is  owned  by  her  great-granddaughter,  Mrs.  John 
G.  Walker,  of  Washington,  D.  C.,  by  whose  permission  it  is  here  reproduced. 

<JOHN     RANDOLPH     OF     ROANOKE*  PLATE    IV 

A"^  eloquent  orator  of  magnetic  personality,  but  erratic,  and  passionate  in 
disposition,  John  Randolph  of  Roanoke  was  for  a  period  of  more  than 
thirty  years  one  of  the  most  conspicuous  figures  in  the  history  of  our  coun- 
try. Born  in  Virginia  in  1773,  he  early  entered  political  life,  and  from  1799 
until  within  a  year  or  two  of  his  death,  in  1833,  occupied  at  various  times  the 
positions  of  congressman,  United  States  senator,  and  minister  to  Russia. 

John  Randolph  has  been  called  "a  strange  compound  of  contradictory  ele- 
ments;" certainly  to  his  eccentric,  ill-balanced  character  there  were  two  dis- 
tinct sides.  The  nobler  traits,  as  his  biographer  Henry  Adams  has  said,  were 

[37] 


38  MASTERS     IN     ART 

caught  by  Gilbert  Stuart  in  the  portrait  here  reproduced.  "Open,  candid, 
sweet  in  expression,  full  of  warmth,  sympathy,  and  genius,"  writes  Mr.  Adams, 
"this  portrait  expresses  all  his  higher  instincts,  and  interprets  the  mystery  of 
the  affection  and  faith  he  inspired  in  his  friends." 

Mr.  Randolph  was  thirty-two  when  he  sat  to  Stuart  for  this  portrait,  which 
is  justly  regarded  as  one  of  the  most  beautiful  productions  of  the  painter 's  brush. 
He  wears  a  dark  blue  coat  with  a  velvet  collar,  a  light  gray  vest,  and  negligee 
shirt.  His  eyes  are  brown,  his  hair  is  light  brown  tinged  with  auburn,  his 
complexion  fair.  In  the  background  to  the  left  a  curtain  is  drawn  aside, 
revealing  a  glimpse  of  trees  and  sky.  For  many  years  the  picture  hung  at 
Roanoke,  Mr.  Randolph's  country-seat  in  Virginia,  and  at  his  death  passed 
into  the  possession  of  his  half-brother,  Judge  Beverley  Tucker,  whose  grand- 
son, Mr.  Charles  Washington  Coleman,  of  Washington,  D.  C.,  is  the  present 
owner.  The  picture  is  temporarily  placed  in  the  loan  collection  of  the  Cor- 
coran Gallery  of  Art  in  Washington,  and  is  reproduced  in  MASTERS  IN  ART 
by  permission  of  Mr.  Coleman. 

•HON.     JONATHAN     MASON     AND    MRS.    MASON*  PLATE    V 

JONATHAN  MASON,  one  of  Massachusetts'  eminent  men,  was  born  in 
Boston  in  1756.  He  early  gained  distinction  at  the  bar,  and  later  in  the 
legislature  of  Massachusetts  and  as  United  States  senator  and  member  of 
the  House  of  Representatives  gave  constant  proof  of  those  sterling  qualities 
which  have  made  his  name  an  honored  one  in  the  annals  of  his  state  and 
country. 

Stuart's  portrait  of  him,  beautiful  in  treatment  and  in  expression,  which 
is  here  reproduced  by  permission  of  its  owner,  Dr.  Henry  F.  Sears,  of  Bos- 
ton, was  painted  in  Washington  in  1805.  Mr.  Mason,  then  in  the  Senate  of 
the  United  States,  was  a  liberal  patron  of  Stuart's  and  it  was  at  his  solicitation 
that  the  artist  soon  afterwards  removed  to  Boston,  and  there  opened  a  studio. 

The  portrait  of  Mrs.  Jonathan  Mason,  also  reproduced  in  plate  v,  was 
painted  in  the  same  year  as  was  her  husband's.  Mrs.  Mason  is  represented 
seated  on  a  light  olive-green  sofa,  dressed  in  white  embroidered  muslin  with  a 
scarf  of  a  delicate  shade  of  mauve,  the  color  subdued  by  a  covering  of  white 
lace,  draped  about  her.  Upon  her  auburn  hair  she  wears  a  white  muslin  tur- 
ban, greenish  gray  in  tone.  Her  eyes  are  hazel  and  her  color  brilliant.  The 
picture,  an  especially  fine  example  of  Stuart's  work,  is  owned  by  Miss  Mabel 
Gertrude  Mason,  of  Boston,  by  whose  permission  it  is  here  reproduced. 

'CAPTAIN     JOSEPH     ANTHONY'  PLATE    VI 

AMONG  the  finest  examples  of  Stuart's  work  is  this  portrait  of  Captain 
Joseph  Anthony,  painted  in  Philadelphia  between  1794  and  1798,  during 
the  artist's  residence  in  that  city  after  his  return  from  England.  Captain 
Anthony,  a  native  of  Rhode  Island,  was  for  many  years  a  prominent  and  highly 
esteemed  citizen  of  Philadelphia,  where  he  was  engaged  in  extensive  ship- 
building interests.  He  was  the  brother  of  Gilbert  Stuart's  mother,  and  it  was 

[38] 


STUART  39 

he  who  gave  the  painter  his  start  in  life  after  the  young  man's  return  to  New- 
port from  his  first  trip  to  Scotland  with  Cosmo  Alexander. 

At  the  time  Stuart  painted  this  portrait  Captain  Anthony  was  about  sixty 
years  of  age.  He  is  dressed  in  a  dark  blue  coat  with  brass  buttons,  a  buff  waist- 
coat, and  white  stock.  The  face  is  vigorously  drawn,  and  the  painting  rich 
and  mellow  in  tone.  The  portrait  is  on  canvas,  and  measures  nearly  three 
feet  high  by  two  feet  four  inches  wide.  It  is  owned  by  Mr.  J.  Rudolph  Smith, 
of  Philadelphia,  by  whose  permission  it  is  here  reproduced. 

'MISS    NANCY     PENINGTON'  PLATE    VII 

"'  I  ^HIS  picture,"  writes  Mr.  Charles  Henry  Hart,  "is  one  of  the  most  in- 
A  teresting  of  the  portraits  of  women  that  Stuart  limned.  It  is  interesting 
in  itself  as  a  characteristic  portrait  of  a  young  woman,  beautifully  executed; 
but  it  has  the  added  interest  of  having  received  the  highest  possible  mark  of 
approval  from  the  great  painter  when  he  affixed  his  signature  to  the  canvas." 
From  the  date  which  follows  this  signature,  legible  in  the  original  picture 
beneath  the  window  to  the  left,  we  learn  that  Nancy  Penington's  portrait  was 
painted  in  1805 — one  year  before  the  young  girl's  death,  which  occurred  when 
she  was  but  twenty-one.  She  is  dressed  in  a  black  velvet  gown  with  delicate 
white  lace  around  the  low,  square-cut  neck.  The  chair  in  which  she  is  seated 
is  upholstered  in  crimson  damask,  and  in  her  hands  she  holds  a  miniature  at- 
tached to  a  long  chain  worn  about  her  throat  and  neck.  Her  hair  is  auburn, 
her  eyes  hazel,  her  skin  very  fair,  and  her  cheeks  red  with  a  somewhat  hectic 
flush.  In  the  distance,  through  an  open  window,  is  seen  a  landscape  suggestive 
of  the  scenery  on  the  banks  of  the  Delaware  River  near  Bordentown,New  Jer- 
sey, Nancy  Penington's  home.  The  picture  is  still  in  possession  of  the  family, 
and  is  here  reproduced  by  permission. 

'MR.    AND     MRS.    JAMES    GREENLEAF'  PLATE    VIII 

STUART'S  portrait  of  James  Greenleaf  was  painted  in  1795,  when  Mr. 
Greenleaf  was  thirty  years  old.    It  is  now  in  the  Pennsylvania  Academy  of 
the  Fine  Arts,  Philadelphia,  and  is  here  reproduced  by  permission. 

In  speaking  of  this  picture,  Mr.  George  C.  Mason  says:  "It  is  a  perfect  gem 
of  modeling  and  color  in  Stuart's  purest  manner.  It  represents  a  remarkably 
handsome  man  with  hair  powdered  and  tied  in  a  queue.  He  is  dressed  in  a 
double-breasted  blue  coat  with  gilt  buttons,  large  white  neckerchief,  and 
ruffled  shirt.  The  background  is  a  rich  crimson  curtain  festooned  to  show  in 
the  distance  the  blue  and  cloud-flaked  sky.  Nothing  finer  as  a  work  of  art 
ever  proceeded  from  Stuart's  easel." 

James  Greenleaf,  son  of  the  Hon.  William  Greenleaf,  of  Boston,  was  born 
in  that  city  in  1765.  When  very  young  he  was  appointed  consul  of  the  United 
States  to  Amsterdam,  where  he  amassed  a  large  fortune.  After  his  return  to 
America  in  1795  he  embarked  in  speculation,  founding  with  Robert  Morris 
and  John  Nicholson  the  celebrated  North  American  Land  Company,  which 
resulted  not  only  in  the  utter  ruin  of  its  originators,  but  of  all  who  had  invested 
money  in  the  gigantic  scheme. 

[39] 


40  MASTERSINART 

Mr.  Greenleaf,  in  1800,  married  for  his  second  wife  Miss  Ann  Penn  Allen, 
eldest  of  the  three  daughters  of  James  Allen,  founder  of  Allentown,  Pennsyl- 
vania, and  granddaughter  of  William  Allen,  chief  justice  of  the  Province  of 
Pennsylvania  before  the  Revolution.  Miss  Allen  was  celebrated  as  "one  of 
the  most  splendid  beauties  this  country  ever  produced."  In  Stuart's  charming 
portrait  of  her,  given  in  plate  vm,  she  is  dressed  in  white  muslin  with  a  blue 
sash.  The  contour  of  her  face,  her  beautiful  eyes  and  delicate  eyebrows,  and 
the  exquisite  flesh-tints  of  her  face  and  neck  offered  a  subject  worthy  of  the 
artist's  brush. 

Stuart  painted  Mrs.  Greenleaf  three  times.  One  picture  is  now  in  France, 
another  is  in  California,  and  one  is  in  Philadelphia,  in  possession  of  Mrs. 
Herbert  M.  Howe,  by  whose  permission  it  is  here  reproduced. 

'THOMAS    JEFFERSON'  PLATE    IX 

OF  the  numerous  portraits  of  Thomas  Jefferson  by  Stuart,  three  were 
painted  from  life,  of  which  the  picture  here  reproduced  by  permission  is 
one.  Painted  in  Philadelphia  in  1800,  when  Jefferson,  then  vice-president  of 
theUnited  States,  was  fifty-seven  years  old, it  is  a  masterly  exampleof  the  paint- 
er's art.  Stuart  sold  it  to  the  Hon.  James  Bowdoin,whoat  his  death  bequeathed 
it  to  Bowdoin  College,  Brunswick,  Maine,  where  it  now  hangs  in  the  Walker 
Art  Gallery,  belonging  to  that  institution.  After  his  removal  to  Boston  Stuart 
more  than  onoe  visited  the  college  in  order  to  copy  this  portrait  and  the  one  of 
Madison  which  it  also  owns. 

Jefferson  was  six  feet  two  and  a  half  inches  tall,  erect  in  his  carriage,  and  of 
commanding  presence.  His  features  were  regular,  his  eyes  hazel,  and  in  youth 
his  hair  was  reddish.  Stuart  has  here  represented  him  seated  before  a  table 
on  which  his  right  hand  rests.  His  coat  is  a  velvety  grayish  black,  contrast- 
ing with  the  dull  red  of  the  chair  and  table-cover.  The  column  in  the  back- 
ground is  of  a  neutral  shade,  olive  in  tone,  and  the  heavy  curtain,  drawn  aside 
to  reveal  a  glimpse  of  blue  sky  and  white  clouds,  is  a  pinkish  purple,  shading 
almost  into  brown.  The  canvas,  which  measures  a  little  over  four  feet  high 
by  three  feet  five  inches  wide,  is  in  excellent  condition,  the  colors  well  pre- 
served. 

<MRS.   WILLIAM    JACKSON'  PLATE    X 

MRS.  WILLIAM  JACKSON,  who  before  her  marriage  was  Elizabeth 
Willing,  was  the  second  daughter  of  Mr.  Thomas  Willing,  prominent 
as  a  merchant  and  financier  in  Philadelphia  during  Washington's  administra- 
tion. Though  not  so  beautiful  as  her  older  sister,  the  celebrated  Mrs.  Bing- 
ham,  the  acknowledged  leader  of  Philadelphia  society  of  that  day,  Mrs.  Jack- 
son was  exceedingly  charming  both  in  person  and  manner,  and  her  marriage 
with  Major  Jackson,Washington's  aide  de  camp  and  private  secretary,  gave  her 
marked  distinction  in  the  circle  of  the  Republican  Court. 

In  Stuart's  beautiful  portrait  of  Mrs.  Jackson  she  is  dressed  in  a  white  mus- 
lin gown  with  delicately  painted  ruffles  edging  the  low-cut  neck  and  short 
sleeves.  Her  eyes  are  brown,  her  hair  slightly  powdered,  and  she  wears  a 
turban  of  white  muslin  toning  into  gray,  placed  upon  her  curls.  The  picture 

[40] 


STUART  41 

is  owned  by  the  Pennsylvania  Academy  of  the  Fine  Arts,  Philadelphia,  where 
it  now  hangs.    It  is  here  reproduced  by  permission. 

A    LIST    OF    THE    PRINCIPAL    PAINTINGS    BY    STUART 
IN    PUBLIC    COLLECTIONS 

yi  S  most  of  Stuart's  portraits  are  in  private  possession  and  constantly  changing  hands,  it 
./"V.  would  be  an  almost  impossible  task  to  make  a  complete  list  of  his  works  which  would 
be  of  any  permanent  value.  The  following  list  includes  only  such  as  are  in  collections  ac- 
cessible to  the  public. 

ENGLAND.  LONDON,  NATIONAL  GALLERY:  Benjamin  West;  Gilbert  Stuart  —  LON- 
DON, NATIONAL  PORTRAIT  GALLERY:  Isaac  Barre;  John  Hall;  John  Philip  Kemble; 
Benjamin  West;  William  Woollett  —  UNITED  STATES.  BALTIMORE,  MARYLAND 
HISTORICAL  SOCIETY:  George  Washington;  Charles  Carroll  of  Carrollton —  BALTIMORE, 
PEABODY  INSTITUTE:  Timothy  Pickering  (loaned)  —  BALTIMORE,  WALTERS  COLLECTION: 
George  Washington  —  BOSTON,  MUSEUM  OF  FINE  ARTS:  George  Washington  (loaned  by 
Boston  Athenaeum)  (Plate  i);  Mrs.  Washington  (loaned  by  Boston  Athenaeum);  Washing- 
ton at  Dorchester  Heights  (loaned  by  City  of  Boston);  General  Henry  Knox  (loaned  by  City 
of  Boston);  Hon.  Josiah  Quincy;  Samuel  Alleyne  Otis;  Mrs.  Richard  Yates;  Governor 
Brooks  (loaned);  Rev.  John  Sylvester  Gardiner  (loaned);  Colonel  Joseph  May  (loaned); 
Mrs.  Oliver  Brewster  (loaned)  —  BOSTON,  BOSTON  ATHEN.SUM:  Thomas  Clement,  Sr. ; 
James  Perkins;  Rev.  Joseph  Stevens  Buckminster;  William  Smith  Shaw — BOSTON,  Bos- 
TONIAN  SOCIETY:  Commodore  Isaac  Hull  (loaned)  —  BOSTON,  MASSACHUSETTS  GENERAL 
HOSPITAL:  Samuel  Eliot;  William  Phillips  —  BOSTON,  MASSACHUSETTS  HISTORICAL 
SOCIETY:  Edward  Everett;  Jeremiah  Allen — BRUNSWICK,  ME.,  BOWDOIN  COLLEGE, 
WALKER  ART  GALLERY:  Thomas  Jefferson  (Plate  ix);  Hon.  James  Bowdoin;  Mrs.  James 
Bowdoin;  James  Madison  —  CAMBRIDGE,  MASS.,  HARVARD  UNIVERSITY  [MEMORIAL 
HALL]:  John  Quincy  Adams  (finished  by  Thomas  Sully);  Fisher  Ames;  Joseph  Story; 
[UNIVERSITY  HALL]  Samuel  Eliot;  Benjamin  Bussey  —  CHICAGO,  ART  INSTITUTE:  Two 
Portraits  of  Washington  (loaned)  —  HARTFORD,  CONN.,  STATE  HOUSE:  George  Wash- 
ington—  HARTFORD,  CONN.,  WADSWORTH  ATHENAEUM:  Unfinished  Portrait — MT.  VER- 
NON,VA.  :  George  Washington  —  NEWARK,  N.J.,  NEWJERSEY  HISTORICAL  SOCIETY:  Cap- 
tain James  Lawrence  —  NEW  HAVEN,  CONN.,  YALE  UNIVERSITY  [YALE  SCHOOL  OF  THE 
FINE  ARTS]:  Captain  Charles  Knapp;  General  David  Humphreys;  [DINING-HALL]  Gov- 
ernor Oliver  Wolcott,  Jr. —  NEWPORT, R. I., REDWOOD  LIBRARY:  John  Banister;  Mrs. Chris- 
tian Banister;  Gilbert  Stuart;  Dr.  Benjamin  Waterhouse  —  NEWPORT,  R.I.,  STATE  HOUSE: 
George  Washington  —  NEW  YORK,  METROPOLITAN  MUSEUM  OF  ART:  George  Washing- 
ton; John  Jay  (loaned);  David  Sears;  Captain  Henry  Rice;  Judge  Anthony;  Mrs.  Judge 
Anthony  —  NEW  YORK,  NEW  YORK  HISTORICAL  SOCIETY:  Thomas  Jefferson;  George 
Washington;  John  Adams;  Egbert  Benson  —  NEW  YORK,  LENOX  LIBRARY:  George 
Washington;  Mrs.  Robert  Morris;  Two  Portraits  of  Ladies;  John  Campbell  —  PHILADEL- 
PHIA, PENNSYLVANIA  ACADEMY  OF  THE  FINE  ARTS:  Mrs.  Samuel  Blodgett  (unfinished); 
Mrs.  Blodgett  and  Daughter  (unfinished);  Sir  Henry  Lorraine  Baker;  Elizabeth  Bordley; 
Samuel  Griffin;  Samuel  Gatliff;  Mrs.  Samuel  Gatliff  and  Daughter;  James  Greenleaf 
(Plate  via);  Mrs.  William  Jackson  (Plate  x);  Mrs.  James  Madison;  James  Monroe; 
John  Nixon;  Mrs.  Richard  Peters,  Jr.;  George  Plumstead;  Mrs.  George  Plumstead; 
George  Reignold;  George  Washington  (full-length);  George  Washington  (replica  of  the 
"Athenaeum  Washington");  Alexander  James  Dallas;  Dr.  John  Fothergill  —  PHILADEL- 
PHIA, HISTORICAL  SOCIETY  OF  PENNSYLVANIA:  George  Washington  —  PHILADELPHIA, 
INDEPENDENCE  HALL:  Commodore  Stephen  Decatur — PROVIDENCE,  R.  I.,  STATE  HOUSE: 
George  Washington  —  WASHINGTON,  D.  C.,  CORCORAN  GALLERY  OF  ART:  George 
Washington;  Chief  Justice  Shippen;  John  Randolph  of  Roanoke  (loaned)  (Plate  iv)  — 
WORCESTER,  MASS.,  WORCESTER  ART  MUSEUM:  Stephen  Salisbury,  Sr.;  Mrs.  Stephen 
Salisbury;  Samuel  Salisbury;  Mrs.  Perez  Morton  (unfinished). 

[41] 


42  MASTERS     IN     ART 


>tuart 


A     LIST     OF     THE    PRINCIPAL     BOOKS    AND     MAGAZINE     ARTICLES 
DEALING    WITH    STUART 

/tPPLETON'S  CYCLOPAEDIA  OF  AMERICAN  BIOGRAPHY.  Gilbert  Stuart.  New 
/A.  York,  1887-1901 — AVERY,  S.  P.  Some  Account  of  the  "  Gibbs-Channing"  Por- 
trait of  George  Washington  (privately  printed).  New  York,  1900 — BENJAMIN,  S.  G.  W. 
Art  in  America.  New  York,  1880  —  BUXTON,  H.  J.  W.  English  Painters;  with  a  Chap- 
ter on  American  Painters  by  S.  R.  Koehler.  New  York,  1883 — CAFFIN,  C.  H.  Amer- 
ican Masters  of  Painting.  New  York,  1902  —  CONANT,  S.  S.  Progress  of  the  Fine  Arts 
(in  The  First  Century  of  the  Republic).  New  York,  1876  —  COOK,  C.  Art  and  Artists 
of  Our  Time.  New  York  [1888]— DEXTER,  A.  < The  Fine  Arts'  (in  The  Memorial 
History  of  Boston,  edited  by  Justin  Winsor).  Boston,  1881  —  DUN  LAP,  W.  History  of 
the  Rise  and  Progress  of  the  Arts  of  Design  in  the  United  States.  New  York,  1834  — 
HART,  C.  H.  Gilbert  Stuart  (in  Encyclopaedia  Britannica).  Edinburgh,  1 8 8 3  —  HART,  C.  H. 
Browere's  Life  Masks  of  Great  Americans.  New  York,  1899  —  ISHAM,  S.  The  History 
of  American  Painting.  New  York,  1905 — LESTER,  C.  E.  Artists  of  America.  New 
York,  1846  —  MASON,  G.  C.  The  Life  and  Works  of  Gilbert  Stuart.  New  York,  1879 
—  MONKHOUSE,  C.  Gilbert  Stuart  (in  Dictionary  of  National  Biography).  London,  1885- 
1901 — SHELDEN,  G.  W.  American  Painters.  New  York,  1879  —  TUCKERMAN,  H.  T. 
Book  of  the  Artists.  New  York,  1867. 

MAGAZINE    ARTICLES 

AMERICAN  ART  REVIEW,  1880:  C.  H.  Hart;  Mason's  Life  of  Stuart.  1880: 
XX  C.  H.  Hart,-  The  Stuart  Exhibition  at  the  Museum  of  Fine  Arts,  Boston  —  ANGLO- 
SAXON  REVIEW,  1899:  L.  Cust;  Stuart's  Portrait  of  Washington  —  L'ART,  1876:  W.  J. 
Hoppin;  Esquisse  dune  histoire  de  la  peinture  aux  Etats-Unis —  ATLANTIC  MONTHLY, 
1868:  J.  Neal;  Our  Painters.  1888:  W.  H.  Downes;  Boston  Painters  and  Paintings  — 
CATHOLIC  WORLD,  1895:  F.  W.  Sweet;  An  Artist  Philosopher  —  CENTURY,  1897, 
1898,  1899,  1902:  C.  H.  Hart;  Gilbert  Stuart's  Portraits  of  Women.  1902,  1904: 
C.  H.  Hart;  Gilbert  Stuart's  Portraits  of  Men— THE  CURIO,  1887:  B.  R.  Belts;  The 
Washington  Portraits  by  Stuart  —  HARPER'S  MONTHLY,  1896:  C.  H.  Hart;  Stuart's 
Lansdowne  Portrait  of  Washington — .McCLURE's  MAGAZINE,  1897:  C.  H.  Hart;  Life 
Portraits  of  George  Washington.  1898:  C.  H.  Hart;  Life  Portraits  of  Thomas  Jefferson. 
1903:  W.  H.  Low;  A  Century  of  Painting  in  America — NARRAGANSETT  HISTORICAL 
REGISTER,  1882-83:  The  Gilbert  Stewart  House  —  NEW  ENGLAND  MAGAZINE,  1894: 
W.  H.  Downes;  Stuart's  Portraits  of  Washington.  1895:  W.  H.  Downes;  Our  Amer- 
ican Old  Masters.  1905:  M.  S.  Stimpson;  Gilbert  Stuart  —  PUTNAM'S  MONTHLY,  1855^ 
H.  T.  Tuckerman;  Original  Portraits  of  Washington  —  SCRIBNER'S  MONTHLY,  1876: 
J.  Stuart;  The  Stuart  Portraits  of  Washington.  1877:  J.  Stuart;  The  Youth  of  Gilbert 
Stuart,  by  His  Daughter.  1877:  J.  Stuart;  Anecdotes  of  Stuart. 

[42] 


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